Originally posted by: GhostAlpha26
after I have corrected the frames how do I re-import them back into the DVD? Just one at a time or is there another way to do that? And should I use womble to mesh the project together?

I know I’m being a real nag but this means the world to me thank you so much.
51 views, so these answers are helping other people, too.

Use VirtualDubMod to reassemble the images into an avi.
(First, make sure the image filenames are absolutely consitant, because VirtualDubMod gets confused with filenames, very easily).
Save as Huffyuv, which is lossless, then use TMPGEnc to turn that into Mpeg2.

I tried putting the Huffyuv avi directly into Womble, once, but Womble misinterpreted the aspect ratio. I might've missed something, tho'.

Give the mpeg2 the highest possible bitrate, to preserve the quality. Let your DVD software decide the final bitrates of everything.
Put the mpeg2 into Womble, and splice it into the DVD footage. You can use the DVD audio to replace the sound in your clip.
Make sure it syncs up.

Read "ADigitalMan's Guide to MPEG2/AC3 Editing", stickied above, for the full procedure.

By the way: Export the whole scene (camera shot), into the image sequence, because color shifts can happen when decoding, encoding, and recoding. You don't want the color shift to happen in the middle of the shot.

One possible drawback with using Image Editors... I haven't upgraded to the latest and greatest, yet...
But so far, the image editors I use insist on position-moving one-pixel-at-a-time. (I might be neglecting an option somewhere).
If there's camera movement, you often need to position your clean image to partial-pixel accuracy.
That's where AE Pro comes in, its manual positioning and motion-tracking use partial-pixel positioning.

Tuckuh, I was having some problems with that tutorial (I think I just suck at AE) but I think many of those other tutorials will really help me, thank you

Yeah, I forgot - that tutorial had a rotating keyframed matte. Just draw a fixed oval or rectangular map.
He also talks very fast, and like most teachers, the more important the concept, the faster he goes.
You need to rewind the video all the time to catch things. (There are player controls at the bottom of the page).
But It's the only useful motion-tracking tutorial I've found. It also has the matteing. And a bunch of junk we don't need.

Here's some more tutorials. A lot of them are useless for this, but there's useable bits scattered around: CreativeCow

And don't worry, you're supposed to suck at AE, its one of those programs (you know--- the majority

) which go beyond counterintuitive, straight into anitintuitive.

I sucked at it about a month ago, and I still do.

But I've been doing this stuff a lot, so I'll tell ya.

How about a step-by-step that probably leaves things out?

I'll base it on that tutorial.
Ignoring Motion Tracking, for now, in case you don't have Pro. Also, the Motion Tracking would make this list too confusing.
He imports the clip twice, and picks a frame to freeze. I usually import a sequence of frames, and then a single frame.
It's easiest to talk about importing a clip and a frame, so I'll do that.

Once again, if you import a clip, you might want to import the whole scene, in case a color-shift happens, at some stage, before, during, or after AE. That's why it's best to do clip and clip, or image & image-sequence, to avoid color mismatches between elements. It'd be easy for you to adapt my instructions to either.

Step by step always sounds more complicated than it really is...

1) Import the clip, and your single clean frame.
2) Click on the frame. Shift-click on the clip. Drag them to that composition-window symbol to the left of the trash can icon.
Ok the popup. Drag the right side of the Project window leftward - to open up some room for the viewscreen.
3) Create a white solid. Click on that eyeball symbol, (at the far left of the timeline clutter), to make its eyeball go away - the white is invisible for now.

Note: The solid breaks the link between the clip and the frame. So, now you can drag them up or down, and you can change their transform stuff independantly.

4) If the frame is underneath the clip, drag it up - between the clip and the solid.
5) Click on the frame's arrowhead, then click on it's "transform". Sometimes I have to click "reset". periodically, because the frame likes to
get moved out of place at seemingly-random times.
Make the frame's opacity about 40%.
6) Run through the timeline's playback and see if the frame's image lines up with the clip.

Note: To zoom in, where you want, in the viewscreen, Hold down the Alt key, move your cursor where you want, and use your mouse-wheel to zoom in & out.

Note: Also, I'm constantly having to click the bars above the viewscreen, or using their dropdowns, to get the correct view. That takes some getting used to.

7) If the frame doesn't line up, adjust the "transform"'position-controls until it does.
8) Make the frame invisible (eyeball symbol). Make the white solid visible (eyeball symbol). Now make the white solid about 30% opaque (transform).
9) Position the playback so that Luke is highest in the frame, when he's not supposed to be.
10) Make the White Solid visible. Click on its bar. Make sure you are viewing the solid, and not the composition or the clip.
Drop the White Solid's opacity to about 30%, so you can see the clip underneath.
11) Draw your mask(s), on the White Solid, to cover him.

Note: You can use the mask's transform "feather" setting to soften the edge of the mask in case there's noise, or the exposure changes a little bit.

12) Make the white solid opaque again. Then make it invisible, by shutting off the eyeball.
13) Make the frame visible. Then set its "TrkMat" dropdown to "Alpha Matte "White Solid 1"".
14) Switch your viewscreen focus to the composition. Move the timeline play-arrowhead-thingy around to see the results in motion.
15) Set the frame's markers, on its timeline bar, so that the matte only kicks in after Luke jumps down.
16) Zoom the viewscreen in on the matted area. (You can zoom in tight on any part of the matte, to get a good close look).
Run through the preview and see if the camera moved at all. (Then you'd pretty much need motion tracking).
(The camera will move in most shots, in most movies and shows. You often wouldn't notice it until you start compositing...).
16) There's a little curved vertical bar, at the right end of the timeline, just under the time markers. Drag that bar leftward, to cut off the excess crap after the clip runs out. I find it impossible to figure out exactly where it goes, so I leave a little slop at the end.
17) If I didn't leave anything out, it should look perfect. So go ahead and export your clip or image sequence.